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Editorial C()nsultants
Edited by
BRIAN NEWBOULD
I~ ~~o~;~;n~~:up
LONDON AND NEW YORK
First published 2003 by Ashgate Publishing
Published 2016 by Routledge
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Appendix 169
3.5 Schubert: Alfonso und Estrella: Act 2, No. 20, Ms. folio 113
verso 46
3.6 Schubert: Symphony in C major, 0944, Ms. last page 47
3.7 Schubert: String Quartet in B flat major, 0112: Opening of
II 48
3.8 Schubert: Alfonso und Estrella: Act 2, No. 20, Ms. folio 120 49
recto
4.1 Schubert: String Quartet in A minor, Menuetto, Allegretto,
bars 1-21, with analysis 54
4.2 Schubert: Waltz, 0146115: (a) score, with analysis;
(b) middleground sketch; (c) background sketch 57
4.3 Schubert: String Quartet in A minor, Menuetto, Allegretto:
middleground sketch 60
4.4 Schubert: String Quartet in A minor, Menuetto:
comprehensive sketch 63
4.5 Schubert: String Quartet in A minor, movements 1-4: tonal
hyperstructure 64
4.6 Schubert: Strophe alls 'Die Golfer Griechenlands', 0677,
second setting, bars 1-6 65
4.7 Schubert: String Quartet 111 A mmor, Allegro ma non
troppo: bars 1-24 67
4.8 Schubert: String Quartet in A mmor, Allegro ma non
troppo: analyses of thesis and antithesis 68
4.9 Schubert: String Quartet in A minor, Allegro ma non
troppo: (a) viola and violin melodies, bars 32-6 and 44-9;
(b) cello melody, bars 118-22; (c) comprehensive sketch 71
4.10 Schubert: String Quartet in A minor, Andante: (a) violin I
melody, bars 1-8; (b) bass sketch 72
4.11 Schubert: String Quartet in A minor, Menuetto: violin
cadential melodies, bars 11--12,50-51 and 110-111 73
4.12 Schubert: String Quartet in A minor, Allegro moderato:
(a) comprehensive sketch; 75
(b) bars 202-227; 76
(c) bars 277-292 77
5.1 Schubert: String Quartet in A minor: 1st movement, voice
leading graph, bars 1-129 84
'5".2 Schubert: String Quartet in A minor: 2nd movement, voice
leading graph, bars 1-5 86
7.1 Schubert: Sonata in OlE flat major, 0568: 2nd movement,
bars 39--43 104
8.1 Mozart: Allegro in B flat, K3 109
List o/Music Examples lX
Figures
Tables
has recently published them in the New Schubert Edition. Study of these
versions, some of them fragmentary, adds a dimension to our understanding
of such works as the Sonata in C, D279, and the Sonata in B major, 0575.
Brian Newbould relates practices in Schubert's dances - a repertory
subjected to relatively little analysis so far - to those in full-blown sonata
movements, seeking to provide a basis on which to build an enhanced
understanding of the techniques of compression and expansion that are
central to Schubert's creative personality.
Roger Neighbour applies his professional expertise in medicine,
psychology and neuro-immunology to some of the enigmas surrounding
Schubert's life and music, and proposcs a novel hypothesis that may be seen
to explain certain well-known aspects of his personality and art. The G major
Piano Sonata, a work less subjected to close study than other sonatas of
Schubert's last five years, is considered by Robert Hatten to be Schubert's
'Pastoral'. After examining the genre of pastoral, this substantial essay finds
it characterized, for Schubert, by a timeless sense of continuity, and sees the
G major Sonata as a cyclic manifestation of pastoral tendencies, a distinctive
and original successor to Beethoven's increasingly Romantic pastoral
sonatas, Opp. 28 and 101.
The breadth and depth of these papers, presenting as they do the current
work of international scholars at the leading edge of Schubert research as
well as of younger writers sharing the same devotion to their subject, and
offering the seminal potential to point up areas for future work, implies a
burgeoning - and perennial- research culture among Schubertians. The
tradition of amassing conferences and other research outlets around Schubert
anniversaries has surely outlived its sufficiency.
Brian Newbould
C\
~-
Taylor & Francis
Taylor & Francis Group
http://taylorandfra nci s.com
Notes on Contributors
Walther Diirr (b. Berlin, 1932) studied musicology, German and Italian in
Berlin and Tiibingen, gaining his DrPhil in 1956. After holding academic
posts at the universities of Bologna and Tiibingen (1957-62), he joined the
editorial board of the Neue Schubert Ausgabe in 1965, later becoming its
Chairman. He was also appointed Honorary Professor at Tiibingen in 1977.
As well as editions within the NSA, and translations of Italian operas into
German, he has published on Schubert, on the history of lied, on the Italian
madrigal. and on the relationship of words to music.
Pianist Roy Howat enjoys a wide repertoire and is specially known for his
expertise in French music (as author of the book Dehllssy in Proportion and
editor of Urtext editions of music by Debussy, Faure and Chabrier). He has
recorded piano music (notably by Debussy and Chabrier) and chamber music
for several record labels, and his recent concerts include live broadcasts of
Schubert sonatas in several continents. He is currently AHRB Fellow 111
Creative and Performing Arts at London's Royal College of Music.
the same city, where she has been a member of the research staff since 1996.
In 1998 she was appointed assistant to the Rector. Dr Kogler's doctoral
dissertation on the meaning of language in contemporary music is due to be
published in the series Stlldien ::ur Wertllngs.t()rschung in 2002.
the Schubert Institute (UK) from 1993 to 2002, and from 2002 Honorary
Vice-President.
Nicholas Rast completed a PhD on Schubert's music for piano four hands at
King's College, London in 1988. Together with Elizabeth McKay he co-
edited the proceedings of the Oxford Bicentennial Conference (Schneider,
Tutzing: 1998), and was on the committee of the Leeds 2000 Schubert
Conference. Besides writing for academic journals, he is a regular
contributor to the BBC Music Magazine and The Daily Telegraph.
the masses get a hearing, but the operas have had very limited success and
remain curiosities, the subject of musicologically stimulated revival, and
are generally received only as experiments.
The prestige of Schubert as one of the supreme classical composers is
oddly unaffected by the lack of success in so many genres and the clearly
mixed success of others. It must be remembered that the greatest part of the
music of Schubert that has come down to us was written in his early youth.
Nevertheless, the somewhat ambiguous status of so much of the music is
curious, particularly when it concerns many of the greatest works. The
accusations of excessive length continue to surface, and will not go away.
There is also the reproach of a lack of power, of what has traditionally been
called the effeminacy of Schubert's style. This is unfortunate, particularly
because many of the most perceptive musicians feel the charges to be
unwarranted or irrelevant. It is clear that standards are being applied to some
of the most important works which are partly inapt and inapplicable, or
worse, and which, at least to a certain extent, lead to an evaluation which
does only incomplete justice to the tinest works. This misunderstanding,
however, cannot be completely dismissed - in fact, it may paradoxically help
us to a deeper appreciation of Schubert's achievement, and it merits some
consideration.
In his chamber works and piano sonatas, particularly, we think of Schubert
as somehow taking over from Beethoven and continuing the Viennese
tradition in a kind of straight line - successively Haydn, Mozart, Beethoven,
Schubert and finally Brahms, each one engendering his successor. History is
less straightforward than that. There is no disputing the influence of
Beethoven on the later Schubert, but his style was not in fact formed on
Beethoven, to whom, as we know, he was hostile at an early stage. His early
model was clearly Mozart for instrumental music, and he remained faithful
to his youthful idolatry in ways that made it impossible for him ever
completely to assimilate the work of Beethoven. In this, of course, he was
not alone: not even Mendelssohn was able to deal comfortably with the
figure of Beethoven, who in his later years remained relatively isolated in
spite of - or because of - his immense prestige (it is interesting, for example,
that although Mendelssohn could confront and welcome the influence of the
late Beethoven quartets with extraordinary benefit to his own style, the only
way he could face the 'Hammerklavier' Sonata was with a joking parody,
published posthumously by his heirs with the no doubt humorous opus
number of 106). Along with Mozart, the influence of Mozart's pupil
Hummel probably had greater weight with Schubert than Beethoven.
One interesting example may be given of Schubert's continuing study of
Mozart and the way it continued to refine his musical conceptions. The C
major String Quintet seems at its opening to owe nothing to Mozart
(Example 1.1).
Schubert alld the E~'(Ql11ple o/lvfozart 3
Viola
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bars 1-11
Schubert and the Example olMo::art 7
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Schuberr and the Example oU.fo::art 9
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10 Schuhert the Progressive
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it an expressive interest. This ean be done only if the Molto moderato tempo
is interpreted as a very slow one; this may not be the correct interpretation,
but it is understandably chosen by some performers in order to impart what
they feel is the necessary gravity to the movement as a whole.
The increased motion can only be achieved with difficulty if the material
is as idiosyncratic as the opening themes that are the glory of Schubertian
invention, but Schubert's sense of spacious form needs the increased
rhythmic development, and this is the occasion for the more conventional
material. In following Mozart rather than Beethoven, Schubert was not often
inclined to adopt Beethoven's solution to the problem of employing
conventional material for the purpose of enlarging classical structures.
Beethoven's method, largely based on that of Haydn, was to make the
conventional material appear as if it were a part of the original thematic
invention of the main theme: that is why so many of Beethoven's themes are
constructed out of simple arpeggios or scale motifs. This was not a practice
that would recommend itself to Schubert, whose thematic invention was of a
very different nature from Beethoven's. In addition, Beethoven's technique
resulted in forms of a very tight economy, where Schubert clearly wished to
let more light and air into his creations.
,r.'chuhert and the Example olMozart II
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